KALEIDOSCOPE: QUEER VOICES FROM THE PERIPHERY

Utpal Datta makes a sensitive attempt to hear the unheard ‘third voice’ and reviews Dr Kaustubh Padmapani’s ...

100 years of Sayed Haider Raza

Teesta Bhandare explores the art of Raza through the lens of the global avant garde.

On F...

The Poetry of the Quotidian of Aki Kaurismäki

Vandana Kumar writes, “To think of Finnish cinema, is to think of Aki Kaurismäki. Apparently, this perception isn&r...

Silence: The language of God

A piece of appreciation of Martin Scorsese’s 2016 epic historical drama Silence, by Berges Santok

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Whose normal is it anyway?

Vandana Kumar goes around John Cassavettes’ ‘A Woman Under the Influence’ and discusses how Independent Cine...

The Hairdresser’s Husband: Too Much of a Good Thing?

Vandana Kumar explores how a film like The Hairdresser’s Husband starts as a man’s...

Seijun Suzuki: Master of the Japanese Film Noir

The most traveled and hence the most influential of the film genres that evolved in Hollywood film studios is p...

Pivotal, Not Seminal: Indian Matchmaking

Since its release a couple of weeks back, Indian Matchmaking, has raced to the top of the charts for Netflix in India, writes Dr Sandee...